
PRICE THIRTY-FIVE CEBITS 


OLDEN HOPE 


GLADYS RUTH BRIDGHAM 


T!tTY^TTTTT! 


THE PENN PUBLISHING COMPANY 
PHILADELPHIA 
































Rural 

A Strong List From Which to Select Your 

Next Play 

FAEM FOLKS. A Rural Play in Four Acts, by Arthur 
Lewis Tubbs. For five male and six female characters. Time 
of playing, two hours and a half. One simple exterior, two 
easy interior scenes. Costumes, modern. Flora Goodwin, a 
farmer’s daughter, is engaged to Philip Burleigh, a young New 
Yorker. Philip’s mother wants him to marry a society woman, 
and by falsehoods makes Flora believe Philip does not love her. 
Dave Weston, who wants Flora himself, helps the deception by 
intercepting a letter from Philip to Flora. She agrees to marry 
Dave, but on the eve of their marriage Dave confesses, Philip 
learns the truth, and he and Flora are reunited. It is a simple 
plot, but full of speeches and situations that swhy an audiehce 
alternately to tears and to laughter. 

HOME TIES. A Rural Play in Four Acts, by Arthur 
Lewis Tubbs. Characters, four male, five female. Plays two 
hours and a half. Scene, a simple interior—same for all four 
acts. Costumes, modern. One of the strongest plays Mr. Tubbs 
has written. Martin Winn’s wife left him -when his daughter 
Ruth was a baby. Harold Vincent, the nephew *and adopted son 
• of the man who has wronged Martin, makes love to Ruth Winn. 
She is also loved by Len Everett, a prosperous young farmer. 
When Martin discovers who Harold is, he orders him to leave 
Ruth. Harold, who does not love sincerely, yields. Ruth dis¬ 
covers she loves Len, but thinks she has lost him also. Then 
he comes back, and Ruth finds her happiness. 

THE OLD NEW HAMPSHIRE HOME. A New 

England Drama in Three Acts, by Frank Dumont. For seven 
males and four females. Time, two hours and a half. Costumes, 
modern. A play with a strong heart interest and pathos, yet rich 
in humor. Easy to act and very effective. A rural drama of 
the “Old Homstead” and “Way Down East” type. Two ex¬ 
terior scenes, one interior, all easy to set. Full of strong sit¬ 
uations and delightfully humorous passages. The kind of a play 
everybody understands and likes. 

- THE OLD DAIRY HOMESTEAD. ; A Rural Comedy 

in Three Acts, by Frank Dumont, For five males and four 
females. Time, two hours. RuraL costumes. Scenes rural ex¬ 
terior and interior. An adventurer obtains a large sum of money 
from a farm house through the intimidation of the farmer’s 
niece, whose husband he claims to be. Her escapes from the 
. wiles of the villain and his female accomplice are both starting 
and novel. 

A WHITE MOUNTAIN BOY. A Strong Melodrama in 
Five Acts, by Charles.,Townsend. For ^even males and four 
females, and three supers. _ Time, two hours and twenty minutes. 
One exterior, three interiors. Costumes easy. The hero, a 
country lad, twice saves the life of a banker's daughter, which 
results in their betrothal. A scoundrelly clerk has the banker 
in his power, but the White Mountain boy finds, a way to check¬ 
mate his schemes, saves the banker, and wins the girl. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



Successful 


Golden Hope 

A Play for Girls in Two Acts 


By 


GLADYS RUTH BRIDGHAM 

Author of “ Cynthia Looks Ahead" 
“Mrs. Haywood's Help" 



PHILADELPHIA 

THE PENN PUBLISHING COMPANY 
1921 




J \ 


Copyright 1921 by The Penn Publishing Company 



Golden Hope 

©GI.D 57141 


I 1 

I 


m 17 1921 




Golden Hope 


CAST OF CHARACTERS 


Mrs. Gwendolyn Sanderson-Washburn, 

A society woman 

Averil Sanderson. Her sister; a playwright 

Mrs. Estelle Sanderson. Their aunt 

Meriam Huntley. Mrs. Washburn's secretary 

Alice Beckworth, M. D. 

Mary Blake. A detective 

Annie }. rs • Washburn's maids 

Miss LeRoy. Hotel clerk 

Sadie Billings. Maid at hotel 


Act I.—Library in Mrs. Washburn’s home. June of 
any year. 

Act II.—Room in Averil’s apartment in a hotel at 
Sunset Beach. Four months later. 

Time of Playing :—One hour and a half. 


CHARACTERISTICS 

Averil. Twenty-five; blind; sweet face and quiet 
manner. She is very uncertain in her movements in 
Act I, but much more sure in Act II. 

Gwendolyn. Thirt}^; typical young society woman. 

Estelle. About fifty; short and stout; fussy and 
given to weeping. 

Dr. Beckworth. Thirty-five; rather masculine. 

Miss Huntley and Miss LeRoy. Young business 
women from twenty-five to thirty. 

Becky. Seventeen; reddish hair; hangs in curls 
tied back in Act I; she wears it up in Act II. She is 

3 











4 


SCENE PLOTS 


small and rather pretty; there is something appealing 
and fascinating about her. 

Annie is nineteen. 

Sadie Billings. Twenty-two. 

Mary Blake. Thirty. 


SCENE PLOTS 

Act I 

H///WJO*V WJTH 



Scene. —The library in the home of Mrs. Gwendo¬ 
lyn Sanderson-Washburn. 


Act II 













Golden Hope 


ACT I 

SCENE. —Library in the home of Mrs. Gwendolyn 
Sanderson-Washburn. Late afternoon. Exit r. 
and a hall exit l. c. Large window with a built-in 
seat r. c. Large table c. ; armchair back of table; 
small chairs right and left of table. Telephone on 
table. Small table with typewriter right front; 
divan left front. 

(As curtain rises Meriam Huntley sits back of center 
table addressing envelopes. Becky, a maid, stands 
at right of table putting the stamps on the envelopes 
as Meriam hands them to her.) 

Meriam (handing last letter to Becky). Count 
them. 

(Consults a list as Becky counts the envelopes.) 
Becky. Nineteen. 

Meriam. Give them to Wilson. (Becky gathers 
up the envelopes-and starts to exit, c. Mrs. Gwendo¬ 
lyn Washburn enters, c. Meriam rises.) Mrs. 
Washburn. 

Gwendolyn. I am very late. (To Becky, who is 
about to exit.) Ring for Annie. (Becky steps back 
into room; touches bell near door; exits. To Meriam.) 
Where is my sister? 

Meriam. In her room. Dr. Beckworth is with her. 

5 



6 


GOLDEN HOPE 


Gwendolyn. And the specialist ? 

Meriam. He has gone. He stayed but a short 
time. 

Gwendolyn ( with a gesture of impatience) . Oh! I 
wanted to see him ! 

Meriam. Doubtless Dr. Beckworth understands. 

(Annie, a maid, enters, r.) 

Gwendolyn ( hands her hat and coat to Annie). 
Take my things, Annie, and tell Dr. Beckworth I would 
like to see her here before she leaves. 

Annie. Yes’m. 

{Exit, r.) 

Meriam {indicating some letters on table). These 
are ready for your signature. 

Gwendolyn {taking Meriam’s place at table). 
Very well. I will do it at once. 

Meriam {looking at Gwendolyn sympathetically). 
You are tired, Mrs. Washburn. 

Gwendolyn {with a sigh). Dead tired—but— {sud¬ 
denly straightening up) I mustn’t be. There is no time 
to be tired. 

Meriam. If I could only do more for you. 

Gwendolyn. Don’t reproach yourself, Miss Hunt- 
ley. You are indefatigable. I couldn’t get along with¬ 
out you. 

(Mrs. Estelle Sanderson enters, r.) 

Estelle. Gwen, at last! 

Gwendolyn. Yes, I know I am late. I’m sorry. 

Estelle {reproachfully). You might at least have 
told me you had come in. I have been on pins and 
needles for two hours and a quarter. It relieves me of 
a little care to know you are in the house. What are 
you doing? 

Gwendolyn. Signing these invitations. 

Estelle. Invitations? For what? 

Gwendolyn. An afternoon reception for Mrs. Bed- 
lowe. 


GOLDEN HOPE 


7 


Estelle. Gwendolyn, I protest! You went on 
with that dinner for Senator Keene. I did hope that 
would be the last while Averil is in the house. I 
haven’t said anything before- 

Gwendolyn ( interrupting ). No, Aunt Stella, it 
wasn’t necessary. Your looks were enough. I know 
you disapprove of ( makes a sweeping gesture over the 
table ) all this, but I have tried to do my duty by both 
sister and husband. 

Estelle. There are times when it doesn’t harm a 
husband to take a back seat. 

Gwendolyn (shortly). This isn’t one of the times. 

(Signs the last invitation. Meriam gathers them up 
and quietly exits, c.) 

Estelle (taking a chair down r.). Well, of course, 
no one pays any attention to what I think or what I say. 

Gwendolyn (a trifle impatiently) . You don’t un¬ 
derstand. 

Estelle. Certainly not. You have lived so much 
longer and have had so much more experience. It is 
too bad I came. I thought I could help, but I can see 
now I am right in the way. 

( Takes out a handkerchief and begins to weep.) 

Gwendolyn (in despair). Aunt Stella! (Hesi¬ 
tates a second, then goes to her.) You mustn’t speak 
that way. You have been positively wonderful. Why, 
if you weren’t here the house wouldn’t be the same. 
You can’t imagine how you would be missed. 

Estelle (recovering a little). Well, I have 
tried- 

Gwendolyn (patting her shoulder). I know you 
have, Aunt Stella. Did you see the specialist ? 

Estelle. Of course I did. He said he didn’t need 
me and I was quite at liberty to go, but I assure you I 
never left the room for a half second. I hope I know 
my duty when I see it. 

Gwendolyn (crossing to table). Did he offer any 
encouragement at all? 


8 


GOLDEN HOPE 


Estelle. My dear! The man is fit for a sana¬ 
torium. 

Gwendolyn ( turning , surprised ). Why, what do 
you mean ? 

Estelle. He said Averil’s blindness is a state of 
her mind! 

Gwendolyn. How perfectly extraordinary! 

Estelle. That’s not the word at all. It’s idiotic. 

Gwendolyn. Surely you have made a mistake. He 
couldn’t have said that. 

(Annie steps into room , r.) 

Annie. Dr. Beckworth, Mrs. Washburn. 

(Dr. Alice Beckworth enters , r. Annie withdraws .) 

Dr. Beckworth. Good-afternoon, Mrs. Washburn. 

Gwendolyn (crosses to Dr. Beckworth and shakes 
hands). I am glad to see you, Dr. Beckworth. I 
hoped to be here when Dr. Staley came. My aunt has 
just been telling me that his verdict is rather surprising. 
That is, surprising to us. I suppose you were pre¬ 
pared. 

Dr. Beckworth. Well, not for quite such sweep¬ 
ing statements as he made. 

Gwendolyn. Won’t you be seated, please? (Dr. 
Beckworth sits l. of table; Gwendolyn back of 
table; Estelle remains down r.) Of course you have 
the utmost confidence in Dr. Staley. 

Dr. Beckworth. I am bound to have unless he is 
actually proved in the wrong. You couldn’t procure 
more expert advice in this country. The trouble is I 
am afraid your sister will not take the advice. 

Gwendolyn. Why ? 

Dr. Beckworth. His advice is so contrary to her 
inclinations. 

Gwendolyn. What did he say? 

Dr. Beckworth. He told her not to lose interest in 
her work, and to choose a travelling companion and go 
from place to place. 

Gwendolyn. And she said-- 



GOLDEN HOPE 


9 


Estelle ( suddenly sitting up very straight). She 
said—after that man had talked fifteen minutes with¬ 
out taking a breath—certainly I never heard anything 
like him—no one could get a word in edgewise—she 
said— Thanks ! 

Gwendolyn. He offered no hope at all ? 

Dr. Beckworth. Not to her. 

Gwendolyn ( breathlessly ). But to you? 

Dr. Beckworth. Yes. 

Estelle. Well, I'm glad you think so. If you call 
what he said hope- 

Dr. Beckworth ( decidedly; interrupting ). I cer¬ 
tainly do—golden hope. 

Gwendolyn. Tell me! 

Dr. Beckworth. Dr. Staley says your sister's con¬ 
dition now is a condition of her mind. An accident, a 
nervous shock caused her to lose her sight. Some day 
something might cause her to regain it. 

Estelle. Did you ever hear anything so loony ? 

Dr. Beckworth. That is why he wishes her to 
travel and mingle with people and to go on with her 
work. 

Gwendolyn. And he didn’t think it best to tell her 
this? 

Dr. Beckworth. No. He says you can’t tell how 
or when the thing might be accomplished, and, of 
course, there is the chance that it never will be accom¬ 
plished. So he thinks it would be cruel to offer her the 
hope- 

Gwendolyn. He offers to the rest of us. 

Dr. Beckworth. Yes. 

Gwendolyn. But how—how are we ever going to 
induce her to come out of the shell she has crawled 
into? 

Estelle ( getting out her handkerchief) . Of course 
we can’t blame the poor child, but it does seem as if she 
might be willing to travel a little—and goodness knows 
I would go with her anywhere. I hope I know my 
duty when I see it. 

Gwendolyn. It is hard, Dr. Beckworth. She is so 


10 


GOLDEN HOPE 


sensitive. Just think! Not a person outside the doc¬ 
tors and members of the family know what has hap¬ 
pened to her. She has a horror of the public, which we 
cannot induce her even to try to overcome. 

Dr. Beckworth. I know you have quite a problem, 
Mrs. Washburn, and ( rising ) I believe it is one for the 
family to solve. She pays little or no attention to what 
I say, and as for Dr. Staley, he might as well have been 
a fly buzzing around. 

Gwendolyn. I assure you we will do our best. 

(Rings bell.) 

Estelle. Yes, indeed. I hope I know my duty 
when I see it. I will go to the dear child at once. 
Good-afternoon, Dr. Beckworth. 

{Exit, r.) 

Dr. Beckworth. Good-afternoon. ( Thoughtfully, 
looking after Estelle.) Your sister has my deepest 
sympathy. 

Gwendolyn {dryly). She needs it. 

Dr. Beckworth {turning quickly). My dear Mrs. 
Washburn, you didn’t think I meant- 

Gwendolyn {interrupting with a laugh). Certainly 
not. (Annie enters , c.) You will be in to-morrow? 

Dr. Beckworth. About the same time. 

Gwendolyn. We will try to accomplish something 
to-night. 

Dr. Beckworth. I wish you success. 

{Exit, c. Annie starts to follow.) 

Gwendolyn {bowing to Dr. Beckworth). Thank 
you. Oh, Annie! (Annie stops by door.) Tell 
Miss Huntley I would like to see her. (Annie exits. 
Telephone rings. Gwendolyn goes to telephone.) 
Hello! Yes. I am sorry. I couldn’t possibly call 
her. Who is this? Oh, Mr. Harrison, yes! Miss 
Huntley told me you had called several times. Yes, 
this is Mrs. Washburn. Why, my sister has been seri¬ 
ously indisposed. I don’t know when she will feel able 



GOLDEN HOPE 


II 


to talk with you. No-o, the doctor doesn’t say she 
mustn’t do any more work. She—she—well, she 
doesn’t seem inclined to want to do any work. I am 
going to talk with her right away and if she feels able 
I will have her call you. I promise to let you know 
what she says, anyway. Not at all. Good-bye. 
(Meriam enters .) Miss Huntley, if we can induce my 
sister to do any more work, would you be willing to go 
away with her for a while ? 

Meriam. Why—Mrs. Washburn—I— I —why - 

Gwendolyn. Of course I have taken you by sur¬ 
prise. You can have time to think. 

Meriam. I don’t need time if you think I would be 

a suitable person. I am not used to—to- ( Stops 

abruptly .) Pardon me. 

Gwendolyn. To blind people. You may as well 
say it, Miss Huntley. I am sure you are as used as the 
rest of us, and I have no doubt would do much better. 
We say the most awkward things and make all kinds of 
unfortunate breaks. 

Meriam. I am willing to try if you wish it. 

Gwendolyn. It is very kind of you to be so ready 
to help. I certainly do wish it, although I don’t know 
what I shall do without you. If my sister will only be 

favorably disposed- (Becky enters , c.) Well, 

Becky ? 

Becky ( steps forward and hands Gwendolyn a 
card). Are you at home, ma’am? 

Gwendolyn ( glances at card). Yes. 

{Exits.) 

Meriam. Becky, take off your cap and apron and 
put on a hat and coat. I am going to send you way 
down-town to do some errands. {Smiles at her.) It 
is nice out. 

Becky {delighted). Yes’m. 

{Exits, r. Meriam goes to typewriter and starts some 

work; slight pause. Becky reenters, r., with hat and 

coat.) 



12 


GOLDEN HOPE 


Meriam ( goes to table). Here is the list of things 
I want and the places to buy them. The charge ac¬ 
counts are marked. The other things you will pay for. 
(Opens a drawer and takes out a money-box; looks 
over some bills.) There is nothing small here. You 
will have to take a twenty. Be careful what you are 
doing, girlie. 

Becky. Leave it to me, ma’am. 

(Annie enters, c.; goes to Meriam and hands her a 
card.) 

Annie. Miss Huntley, this young woman wants to 
see you. 

Meriam ( impatiently ). Another reporter! It’s 
Miss Sanderson she wants to see, and it is quite impos¬ 
sible! Well, I’ll go. ( Starts for door; looks back.) 
Take those letters on the table, Becky. 

{Exit, c.) 

Becky {taking some letters from table). Why can’t 
anyone see Miss Sanderson? 

Annie {looks cautiously out, c.). Search me! 
Must be loony, I guess. Something’s the matter with 
her. {Turns to Becky and speaks cautiously.) 
Becky! This woman that’s come ain’t no newspaper 
reporter. She’s Mary Blake. 

Becky. Th’ detective ? 

Annie. Yere. 

Becky. My Gawd! 

Annie. I’m afraid she’s onto you, kid! 

Becky. What’ll I do? If I lose this job there ain’t 
nothin’ left. I can’t get in nowhere, an’ I wanted ter 
stay straight this trip. 

Annie. Well, of course, we ain’t sure she’s come 
about you. 

Becky. Sure’s as I want to be. She lost me the 
other job and she’s goin’ ter lose me this one. Why 
can’t they let a girl alone? Jest ’cause we slip up once 
is no sign we’re going to forever. 

Annie {looking out, c.). Hush, for goodness’ sake! 


GOLDEN HOPE 13 

They’re coming. Take your mail an’ lay low an’ listen. 
Miss Huntley will think you’re out. 

Becky (grabs her pocketbook from table and the re¬ 
mainder of the letters). I get yer! 

(Annie exits, r. Becky slips into window and pulls 
curtain in front of her. Meriam and Mary Blake 
enter, c.) 

Meriam. Sit down, Miss Blake. Now what can I 
do for you ? 

(Mary sits down r. Meriam by table.) 

Mary. Miss Sanderson is stopping here ? 

Meriam. You know that she is. Why ask? 

Mary. Nothing like first-hand information. Why 
does she refuse to be interviewed? 

Meriam. Ask her. 

Mary. Delighted if I could get near enough. Is it 
true that she refuses to see anyone? 

Meriam. It is. We have nothing to give out. 
You know all about the plays she has already written, 
and I can’t tell you that she ever intends to write an¬ 
other. 

Mary. Miss Huntley, I didn’t come here to ask you 
questions about Miss Sanderson. I used that as an 
excuse to get in. I don’t represent a paper. ( Sud¬ 
denly rises and crosses to Meriam.) I represent some¬ 
thing quite different. 

{She opens her coat and shows Meriam a small button 
on the inside.) 

Meriam (surprised and startled). Miss Blake! 
What in the world? 

Mary. Don’t be alarmed, Miss Huntley. We can 
manage this very quietly. Is there a girl working for 
you about seventeen, rather pretty, short, cute looking, 
auburn hair—almost red? 

Meriam. Yes. Becky Marston. 

Mary. Lately known as Flora March. Real name 
Julia Heckler. You had better nail everything down. 


14 


GOLDEN HOPE 


Meriam. Miss Blake, I engaged this girl myself. 
Her references were excellent. I think you have made 
a mistake. 

Mary. If I have I will withdraw with apologies. 
Will you give me a chance to see this girl ? 

Meriam. Certainly ( rises and rings bell ) — if she is 
in the house. ( Returns to table.) I gave her some 
errands to do down-town, but she may not have started 
yet. May I ask what you want of the girl ? 

Mary. She has served time for stealing. After she 
came back her first job was with the A. T. Crawford 
Co. Mr. Crawford called me to watch a Billings girl 
who was employed there. I ran across this Heckler 
girl the first day. As she was holding a position where 
the temptation and opportunity were great, I felt it a 
duty to warn Mr. Crawford. 

Meriam. Surely. 

Mary. I only suggested that he be more careful, 
change her position or something like that, but he 
wouldn’t have her in the place. After she left we 
found that the Billings girl was entirely innocent. 
This Heckler girl had been quietly getting away with 
several hundred dollars’ worth of goods and throwing 
the suspicion onto the Billings girl. I have a warrant 
for the Heckler girl’s arrest. 

Meriam. I can’t believe it. 

Mary. She is an expert little crook. Mighty clever! 
Always has been. 

(Annie enters, r.) 

Meriam. Annie, has Becky gone ? 

Annie. Yes’m. 

Meriam. Very well. That is all. (Annie with¬ 
draws. To Mary.) I am afraid she will be gone 
some time. 

Mary ( looking at her watch). And I have another 
appointment in half an hour. Would it be convenient 
for me to call in the morning? (Rising.) 

Meriam. Yes, and I will see that Becky is here. I 
hope you will find that our girl isn’t the one you want. 


GOLDEN HOPE 


15 


I like Becky and I can’t make your story fit. Why, I 
have been in the habit of trusting her with money ever 
since she came here. Of course she hasn’t been here 
very long, but she seems such an honest little thing. 

Mary. It is quite possible I have followed a wrong 
clue. We had quite a time tracing her. I assure you 
I have been known to make mistakes. 

Meriam. Let us hope this is one of the times. 

(They exeunt, c. Becky comes forward cautiously. 

Annie enters, r. Averil Sanderson enters, r., un¬ 
noticed; stops uncertainly, then moves along, her 

hand against wall; steps inside curtain .) 

Annie. It is you she’s after. 

Becky. Yere. Tryin’ ter get me for somethin’ I 
ain’t done. I knew that Billings girl was liftin’ the 
goods, but I never supposed she was tryin’ ter hide be¬ 
hind me. 

Annie. What you goin’ ter do ? 

Becky. Get out o’ here. Blake’s coming back in the 
mornin’ ter get a look at me. I’ll get a night’s start and 
it’ll take time ter catch up the trail. Maybe I can get 
clear o’ them fer good. It ain’t no use tryin’ ter be 
straight. Once yer slip up it’s for always as far as 
them folks is concerned. My Gawd! (With a sob.) 
I was trying to do right! I wanted to be straight! 

Annie. Have you got any money? I got a little. 

Becky. Thanks, Annie. Yer the best ever. I 
don’t need it. I can take care o’ myself. 

Annie. Where will you go ? 

Becky. It will be best if you don’t know. 

Annie. You don’t think I’d squeal? 

Becky. I know you wouldn’t, but it’ll be dead easy 
to say you don’t know when you don’t. 

(Starts for door, r.) 

Annie. You goin’ right now? 

Becky. No, I’ll be back. I got a little matter to 
take care of before I start. Besides, I want ter give 


i6 


GOLDEN HOPE 


Miss Huntley her things and her change. I don’t want 
to raise no suspicions too soon. 

Annie. You are a wise one, kid. 

Becky. I need to be. See you later s 

{Exit, r.) 

(Meriam enters, c.; glances around the room.) 

Meriam. Annie, whom were you talking to? 

Annie {confused). Me, ma’am? 

Meriam {sharply). Yes, you. I distinctly heard 
you speaking. You certainly weren’t talking to your¬ 
self. 

Averil {suddenly appears between the curtains in 
the window). I am here, Miss Huntley. 

Meriam {surprised, in a hushed voice). Miss San¬ 
derson ! 

(Annie stares with her mouth open.) 

Averil. I am rather chilly. This dress is very 
thin. Annie is going to my room for a wrap. 

Meriam. Why, certainly. (To Annie.) You un¬ 
derstand what it is that Miss Sanderson wants? 

Annie {pulling herself together). I — I think so. 
It’s- 

Averil {quickly). Trimmed with fur—on the back 
of the chair by the window. 

Annie {with a gasp). Yes’m. 

{Exit, r., hurriedly.) 

Meriam {embarrassed). I am glad you are down¬ 
stairs, Miss Sanderson. It is a lovely afternoon. This 
is a beautiful time of year. Everything looks so pretty 
in June. 

{Stops zvith a little gasp, realizing what she has said.) 

Averil. Yes, June is a beautiful month. It is es¬ 
pecially beautiful in my own home. My home is beau¬ 
tiful all summer long. We have an old-fashioned gar¬ 
den, the same kind my grandmother had in her day. 


GOLDEN HOPE 


17 


Hollyhocks and larkspur and marigolds and sweet peas. 
And there is an orchard and the birds sing so sweetly 
in the cherry trees. I can still enjoy the bird songs and 
the fragrance of the flowers. 

(There is a slight pause. Meriam stands with her 
hands tightly clasped, biting her lip, unable to speak. 
Estelle hurries in, r., followed by Gwendolyn.) 

Estelle (hurries to Averil and puts a fur-trimmed 
jacket over her shoulders) . Your jacket, dear child. 
Annie said you wanted it. Why didn’t you tell me? 
You know I love to do things for you. You know I 
can always see my duty and do it. 

Averil. I fully realize that, Aunt Stella. 
Gwendolyn. I am so glad to have you come down 
here, Averil. Sit down, dear. ( Takes her hand and 
leads her to an armchair.) We wanted to talk with 
you. 

Averil. It is time for me to come down. I must 
begin to get used to some other room. I intend to go 
home the last of the week. 


Estelle 

Gwendolyn 


{together). Home? 


(Meriam takes some things from table and is about to 
quietly exit.) 

Gwendolyn. Don’t go, Miss Huntley. {To 
Averil.) Surely, Averil, you are going to listen to 
Dr. Staley. 

Averil {calmly). He didn’t say anything worth 
listening to. 

Gwendolyn. I think he did, dear. It is a splendid 
idea for you to travel. 

Estelle. And I will go with you. I hope I know 
my duty when I see it. 

Averil. I will travel—back home. That is all. 

Gwendolyn. Averil, Mr. Harrison has called up 
several times. Will you talk with him to-morrow 
morning ? 

Averil. No. 


i8 


GOLDEN HOPE 


Gwendolyn (in despair ). Why? 

Averil. Because he wants me to write another play. 
I shall never write another word. 

Estelle. Averil, my dear! 

Gwendolyn. I can’t see why you feel as you do 
about your work. I have been talking with Miss 
Huntley, and she is willing to act as your secretary- 

Averil ( interrupting ). That is very kind. I ap¬ 
preciate it, but I have no need of her services. What 
do you think I have to write about ? 

Gwendolyn. Well, at any rate, Averil, you must 
not think of going home. If you are not going to 
travel, you must stay here with me. 

Averil. I have been here altogether too long. I 
realize how I have upset your household. It must not 
go on any longer. 

Gwendolyn. Surely, Averil, you understand how 
welcome- 

Averil. I surely do. I realize your kindness and 
your husband’s. I also realize that his career depends 
somewhat upon his wife, and I do not wish to be an 
added burden for you any longer. I shall go home 
this week. 

Gwendolyn ^ f Averil! 

Meriam ?■ ( together ), j Miss Sanderson- 

Estelle ) ( Dear child, listen! 

Averil ( rising ). I don’t feel equal to argument. 
My mind is quite made up. I will go back to my room, 
if you don’t mind. 

Estelle (putting an arm around her ). Let me go 
with you. 

(They exeunt , r.) 

Gwendolyn (looking after them ). A problem for 
the family! How little Dr. Beckworth understands. 
(Annie enters , c.) What is it, Annie? 

Annie. Mr. Washburn has come in. He would 
like to see you if convenient. 

Gwendolyn. Very well. (Annie withdraws .) 
Poor man! Between my social duties and family 


GOLDEN HOPE 19 

duties I never know whether there is going to be a 
minute for my husband. 

{Exit, c. Meriam goes to typewriter; slight pause 

while she works. Becky enters, c.; she just drags 

herself across the room,) 

Becky. Miss Huntley! 

Meriam {turns). Why, Becky! What has hap¬ 
pened ? 

Becky. I slipped and twisted my ankle. I couldn’t 
get down the street. I thought maybe Annie could go 
instead. 

Meriam. Surely. 

Becky. Here’s the list and the money. 

Meriam {taking them). I think I will go myself. 
I have been in all day. The air will be good for me. 
You speak to one of the maids and have her go to your 
room with you. Call a doctor if necessary. I will 
speak to Mrs. Washburn and see that you are excused 
for to-night and as long as necessary. Is the pain very 
bad? 

Becky {limping to the door, r.). Kind o’ fierce. 

Meriam. It is too bad. . I am sorry. Be sure you 
call for all that you need. 

Becky. Thank you, ma’am. You always been 
orful good to me, Miss Huntley. 

{Exit, r. Meriam exits, c.; slight pause. Averil 
steps into room, r.) 

Averil. Miss Huntley! {Pause.) Isn’t there any 
one here? {She sighs. A clock is heard striking five; 
she counts as it strikes.) One—two—three—four— 
five! Five o’clock! Only five! {She covers her 
face with her hands and shivers.) Only five! Only 
five! {She gropes her way to the table and then fo 
the divan; she sinks down on the divan; buries her face 
in one of the pillows. The light from the window has 
been growing more dim; the room is about half- 
lighted; Becky looks cautiously into room, r. ; slips 


20 


GOLDEN HOPE 


quickly into room; leans back against wall, listening; 
tiptoes across to door, c.; looks out; she has no limp; 
she softly closes door, c.; goes swiftly to table, c.; she 
tries drawer with several keys; finds one that fits; 
opens drawer: takes out money-box; removes a roll 
of bills; returns box to drawer; locks drawer. Averil 
sits up; listens. Becky steps away from table towards 
door, r.) Who is it? 

Becky ( turns with a gasp; stares at Averil). It’s— 
it’s- 

Averil {rising). Who is it? 

Becky. Just me, ma’am. Becky, the maid. 

Averil. Oh! And what are you doing ? 

Becky {swallowing). I — I — why, I wanted to see 
you, ma’am. 

Averil. To see me? And why did you expect to 
see me here? 

Becky. I— I seen you come down here. 

Averil. Oh! And am I such an object of curi¬ 
osity ? 

Becky. I seen a swell play that you wrote once. 

Averil {smiling slightly). Oh, that’s it. What 
play did you see ? 

Becky. “ Day Dreams.” It was at the Majestic. 
A feller I went with used ter usher there an’ he got 
passes to the gallery. Gee! We had a swell time 
that night. I been wantin’ to see you ever since you 
come here. 

Averil. Are you disappointed? 

Becky. No, ma’am. You are jest as beautiful as 
I knowed you’d be. 

Averil. I actually believe you are sincere, little 
girl. You are little, aren’t you? 

Becky. Well, not very big, sure. 

Averil. I would like to know how you look. 

Becky {surprised and pleased). Would you really? 
I’ll come where you can see me better. 

{Crosses towards Averil.) 

Averil. I cannot see you at all, Becky. 



GOLDEN HOPE 


21 


Becky. You can’t see - ( Stops and looks at 

Averil wonderingly.) Then that’s why folks- 

(Stops abruptly.) 

Averil. Yes. That is why people are not allowed 
to see me. 

Becky {breathlessly) . But you’ll get over it? It 
ain’t forever? 

Averil. I am afraid it is. 

Becky {eagerly). But, Miss Sanderson, that girl 
in your play—in “ Day Dreams ”—she was- 

Averil. Was blind. Yes. 

Becky. And she got over it. 

Averil. A play, Becky. This is a grim reality. 

Becky {timidly). But—but—you- 

Averil {encouragingly). Yes? 

Becky. You are going to try, ain’t you? 

Averil {a trifle impatiently). Try? What do you 
mean? 

Becky. You really thought the things you wrote, 
didn’t you ? 

Averil. I suppose I did—then. How little I un¬ 
derstood. 

Becky. But couldn’t you think that way again, 
don’t you suppose? 

Averil. Indulge in day dreams? Try to believe 
that somewhere out in the world is a magic touch that 
would open my eyes ? 

Becky. It couldn’t do no harm, and she was so 
happy doing it, and she made so many other people 
happy. Couldn’t you do it, Miss Sanderson? And 
maybe—somewhere- 

Averil. Child, who are you that dares to offer me 
Golden Hope ? 

Becky {eagerly). But it might be true, Miss 
Sanderson. It might be real. Ain’t you going out 
in the world to see ? 

Averil {with a half laugh). Would you go with 
me? 

Becky {slowly). I —go with— you? 



22 


GOLDEN HOPE 


Averil. I couldn't go alone. Some one would have 
to be my eyes. ( Suddenly and determinedly.) Becky, 
would you run away with me to-night ? 

Becky. Run away? You mean not let no one 
know? 

Averil. Yes. If I am going I want to escape from 
every one who ever knew me. 

Becky. But could we? 

Averil. I think so. They would waste a lot of 
time because they would believe I had gone home. 
They would go there first. 

Becky ( suddenly realizing the situation). And 
they'd never dream o' me goin' with you. Oh, Miss 
Sanderson, do you mean—really mean it? Just me 
and you? 

Averil. Yes, I do mean it. I don’t know what has 
happened to me but— (slowly) somewhere a voice is 
calling. (Suddenly changing.) Becky, you will have 
to do many things for me before we can start. You 
will have to work fast. Have you much to do to get 
ready yourself? 

Becky. Just one thing and I will do it now. (Goes 
to table; unlocks drawer; opens money-box and puts 
the roll of bills in; locks the drawer again.) I got 
something of Mrs. Washburn’s and I want to put it 
where it belongs before I go with— you. There! I’m 
ready. 

Averil. All right. (Holding out her hand to 
Becky.) You will have to take me, you know. 

Becky (timidly taking her hand). And we’re really 
going alone? Where am I going to take you? 

Averil. I don't know. Somewhere out in the 
great world to seek that magic touch. Just you and 
me, Becky! Just you and me! 


curtain 


ACT II 


SCENE.— Room in Averil’s apartment in hotel at 
Sunset Beach. Exits r. and l. ; a full length window 
which opens like a door l. c., supposed to lead onto 
a balcony; a table with writing materials at right 
front of the window; a long mirror on wall at r. c. ; 
a divan, chairs and a small table with vase of 
flowers. 

(As curtain rises Averil sits in armchair down l. ; 
she is knitting; Becky stands before mirror arrang¬ 
ing her hair.) 

Averil. I don't hear you saying anything. Aren’t 
you pleased with yourself ? 

Becky (turning from mirror). Pleased? I never 
believed I could look like I do. (Becky’s tone of voice 
and conversation are much improved.) I’ve always 
been such a fright. I look almost—almost pretty. 
Silk dress— (lifts her skirt a little) silk petticoat, silk 
stockings, a girdle with tassels. I always wanted a 
girdle and I adore tassels! The shade of blue is 
heavenly and my hair is up! Oh, I can’t believe it’s 
me! 

Averil. That’s not surprising. Sometimes I have 
hard work to believe it’s I. 

Becky (eagerly). Oh, Miss Sanderson, this morn¬ 
ing first thing when I woke up I thought—maybe we’ll 
find it here! 

Averil. You are still looking, Becky? After four 
months ? 

Becky. Four months ain’t long. I mean—isn’t. 
Of course I’m looking. I’ll always be looking till you 
find it. (Goes to window.) And this is such a beauti¬ 
ful place. This is the loveliest place we been. 

2 3 


24 


GOLDEN HOPE 


Averil ( smiling ). You always say that. 

Becky. I guess I do. Any place is beautiful where 
you are, but I think this is the best of all. The water 
is so blue, and lovely little whitecaps, and the sky is 
the same blue with lovely little white clouds. 

Averil. Becky, you are the most convincing little 
person I ever met. I can see just how you look, and 
I can see the view from that window. I can see how 
happy you are. 

Becky. Happy? I been in heaven ever since that 
first night. 

Averil. I am glad, dear, and I am glad this is v a 
beautiful place. It was your choice, and something 
good should happen here. 

Becky. It has already for me. You found the 
magic touch for me, Miss Sanderson—( looks down at 
her dress) and I just got to find it for you. 

Averil ( spreading out her work and running her 
hand over it). I believe I am getting quite expert, 
Becky. 

Becky. It’s wonderful! ( Takes up the work.) 
And not a mistake! 

Averil. I wonder what my folks would say to my 
activity. 

Becky. I suppose you got to tell them some day. 

Averil. Why, yes, we can’t hide forever. We cer¬ 
tainly have done well. I expected they would trace 
me before this. Perhaps I have been wrong to keep 
them in suspense, but I couldn’t bear to break the spell. 

Becky. You wrote them you was all right. 

Averil. Yes, but I am not sure they ever received 
it. You know I told that bell-boy to mail the letter 
two weeks after we left. He could easily have for¬ 
gotten. 

Becky. I hate to think we’ll ever have to go back. 

{There is a knock at door r. Becky opens door.) 

Miss LeRoy {outside). Good-morning, Miss Emer¬ 
son. May I come in, please? 

Becky. Certainly. (Miss LeRoy enters, r. Becky 


GOLDEN HOPE 25 

turns to Averil.) Miss Siberly, it is Miss LeRoy, the 
hotel clerk. 

Averil. Good-morning. 

Miss LeRoy. Good-morning, Miss Siberly. I hope 
you are finding your rooms comfortable. 

Averil. Quite, thank you. Everything is delight¬ 
ful. 

Miss LeRoy. I am glad, I am sure. Miss Siberly, 
I don’t want to alarm you, but I hope there is nothing 
missing from your rooms this morning. 

Averil. Missing? 

Miss LeRoy. Yes. I regret to say that several 
rooms were entered last night and jewels and money 
were taken. All the rooms were on this floor, and 
open from this balcony, so I thought- 

(She hesitates.) 

Averil. We haven’t missed anything as yet. Beth, 
will you look, please? (Becky exits, l.) Won’t you 
sit down, Miss LeRoy? 

Miss LeRoy (with a half laugh as she takes a chair). 
I will try to. I am too uneasy to sit still. We are 
making a quiet investigation. If it is any of our help 
we may be able to spot them without too much pub¬ 
licity. These things are very unfortunate. 

Averil. Of course it hurts the reputation of a 
hotel. 

Miss LeRoy. You can’t imagine how much. Once 
let the newspapers get it and we lose any number of 
guests until the affair has been forgotten. 

Averil. I suppose you can call a private detective 
if necessary. 

Miss LeRoy. We have already done so. For¬ 
tunately there is a very successful one spending her 
vacation here. I spoke to Miss Blake immediately, 
and it will be very easy for her to work, as no one 
suspects she is in that line of business. 

Becky (enters l.). Miss Siberly! 

Averil. Yes? 

Becky. The lock to your smallest case was forced. 


26 


GOLDEN HOPE 


but nothing has been disturbed. They must have, been 
scared off. 

Miss LeRoy. You are sure nothing is missing? 

Becky. Yes, Miss LeRoy. I packed everything 
myself. 

Averil. And as yet we have unpacked but two or 
three things. 

Miss LeRoy. You are fortunate. That is prob¬ 
ably the only thing that saved you. 

Averil. I know when it happened. I heard some 
one moving and I spoke. I thought it was Beth. I 
asked her if it was morning. When she didn’t reply 
I decided that I heard some one outside or in another 
room. 

Miss LeRoy. I am relieved that it is no worse. I 
hope, Miss Siberly, this won’t change your plans any. 

Averil. About remaining in these rooms, you 
mean ? 

Miss LeRoy. Yes. 

Averil. Certainly not. We shall be perfectly safe. 
They are not likely to strike twice in the same place. 

Miss LeRoy. Thank you. So kind of you to take 
it that way. Two of your neighbors are moving out 
this morning. 

Averil. Well, don’t worry about us. Will you be 
kind enough to send a maid to help Beth unpack ? 

Miss LeRoy. Certainly. At once. Anything else 
I can do ? 

Averil. I think not, thank you. 

Miss LeRoy. Good-morning. 

Averil. Good-morning and good luck! 

Miss LeRoy. Thank you. 

{ Exit , r.) 

Becky {looking after Miss LeRoy). Oh, Miss 
Sanderson! And I was so happy! 

Averil {lightly). Well, surely you are not going 
to let this spoil your happiness. We are fortunate to 
escape so easily. Why should we mourn? 

Becky. But I—I—wish it hadn’t happened. ( With 


GOLDEN HOPE 


27 


a catch in her voice.) I—I wish this kind of a thing 
hadn’t happened. Just when we were looking for 
something good. 

Averil. And we are going to keep on looking. 
This thing doesn’t concern us in the least. I think I 
will go out on the balcony and get some air. It is 
nice out, isn’t it? 

Becky ( goes to window and opens it). Oh, yes, 
it’s grand! 

Averil ( makes her way to window ). This is an 
easy room, isn’t it? 

Becky. Yes’m. ( Takes a sweater from hack of a 
chair.) Perhaps you will need a wrap. 

(Follows Averil out window.) 

Averil {outside). What glorious air! 

{There is a knock at door R. ; pause; another knock; 

pause; Sadie Billings opens door; steps into room . 

Becky comes to window and looks in.) 

Sadie. Miss Emerson ? 

Becky {entering). Yes. 

Sadie. I came up to help you unpack. 

Becky {coming forward). Oh, yes! {Suddenly 
stops. ) Sadie Billings ! 

Sadie {looks at her for a minute in astonishment). 
My gosh! Julia Heckler! Well, wouldn’t that get 
you! You! Miss Emerson! You! Companion to 
Miss Siberly! And will you look at the glad rags! 
Say, how’d you get away with it, kid? 

Becky. I advise you to be a little bit careful. 

Sadie. Oh, soft pedal! You don’t kid yourself, do 
you, that- 

Becky {interrupting). I think you will be just 
what I said—careful. What are you doing in this 
hotel ? 

Sadie. Working. {With a sneer.) I ain’t so 
lucky as some folks. 

Becky. Get too hot for you at Crawford’s ? 

Sadie. What do you mean? 


28 


GOLDEN HOPE 


Becky. What I say. 

(Goes to window and looks out.) 

Sadie. You got a nerve all right. 

Becky (coming forward). Not a comparison with 
yours. 

Sadie. Say! You have grown uppish since the 
good old days, all right, all right. Does your swell 
employer know how you left your job? 

Becky. No, she doesn't know I was accused of 
what you did. 

Sadie. Look here! My husband * works in this 
hotel, and he’ll make you- 

Becky (with a laugh). Your husband? 

Sadie. Yes, my husband. Joe Billings. 

Becky. Joe, that worked at Crawford’s? 

Sadie. That’s him. 

Becky. Were you married then ? 

Sadie. Sure. 

Becky. You’re well matched, I’ll say. Well, I 
don’t need your valuable services, Mrs. Billings. Un¬ 
packing other people’s goods would be just in your line, 
but I can manage to worry through by myself. 

Sadie. I bet you can. Must be a cinch for you to 
work for a blind woman. 

Becky. You’ve said enough, Sadie Billings. I 
could lose you your job here in about three minutes. 

Sadie. And I could return the compliment. 

Becky ( thoughtfully ). Yes, probably. 

Sadie. And I bet you don’t want me to do it. 

Becky. No, I don’t. And that’s the reason I’m 
going to keep still about you. I don’t suppose I ought 
to. I suppose I ought to tell what I know. I warn 
you if anything more is missing around here I will 
tell. 

Sadie. What are you trying to put over now ? 

Becky {sarcastically ). I suppose you don’t know 
about the robberies last night? 

Sadie. No, I don’t. What do you mean? 

Becky. That’s rich! 


GOLDEN HOPE 


29 


Sadie (very much excited; goes to Becky and grabs 
her arm). Julia Heckler, tell me! What happened 
last night? 

Becky (looking at her curiously). You actually 
look as if you mean it. 

Sadie. I do mean it. Tell me! 

Becky (watching her intently). The rooms on this 
floor leading onto the balcony were entered last night. 

Sadie (with a gasp). Did they get much? 

Becky. I don’t know how much. I suppose you 
will be trying to tell me next that you didn’t lift those 
things at Crawford’s. 

Sadie. I didn’t. 

(Mary Blake looks in at window.) 

Becky. Well, I haven’t got no reason to believe in 
you, but you do look as if you were telling the truth. 

Sadie. I - (Catches sight of Mary. Mary 

withdraws. ) Kid! 

Becky. What is it? 

(Turns quickly towards window.) 

Sadie. Mary Blake! She’s on the balcony! 

Becky (with a cry). No, no! 

Sadie. I saw her. She looked in the window. 

Becky. Sadie Billings, if Mary Blake is in this 
building you’ll tell the truth about Crawford's. I didn’t 
take that stuff. You say you didn’t. Who did? 

Sadie. How should I know? 

Becky. I don’t know how you should, but you do. 
You had something to do with it, and you’re going to 
tell how much or how little. 

Sadie (backing towards door R.). No, I can’t. I 
don’t know nothing. I ain’t got nothing to tell. 

(Exit, r. Becky stands looking after her, her hands 
tightly clasped.) 

Averil ( enters by window). Becky! 

Becky (trying to pull herself together). Yes’m? 


30 


GOLDEN HOPE 


Averil. I am getting brave. I went alone down all 
those steps to the beach. What do you think of that? 

Becky. I—I—am glad. (Watches Averil make 
her way to chair down l.) Oh, Miss Sanderson, you 
won’t let them take me, will you? Promise me you 
won’t! Promise me. 

Averil. Take you? My dear! What do you 
mean? What are you talking about? 

Becky (beginning to cry). I didn’t do it! They 
think I did, but I didn’t. 

Averil (somewhat alarmed). Becky, what are you 
talking about? 

Becky. Oh, don’t ask me! 

Averil {sharply). Becky, come here! 

Becky (with a gasp). Oh, Miss Sanderson, don’t 
speak to me that way. I’ll die if you go back on me! 

Averil {firmly). Becky, you must do just as I say. 
Come over here. 

Becky {throwing herself down by Averil’s chair). 
Oh, Miss Sanderson, I’m so miserable. 

Averil {leaning forward and putting her hand on 
the girl's head). Now, tell me all there is to tell. 

Becky. I can’t bear to tell you. You’ve been an 
angel to me, and you will despise me. 

Averil {gently). Becky, you love me, don’t you? 

Becky. You know I worship you. 

Averil. Do you think anything I ever did in the 
past could change your love? 

Becky. I know it couldn’t. 

Averil. Then you mustn’t be afraid to tell me 
whatever there is to tell. Nothing you have ever done 
can make any difference now. Did you never hear 
that “ perfect love casteth out fear ” ? lam not afraid 
to have you tell me. I love you, too, little girl. 

Becky {wonderingly). You—love—me? 

Averil. Yes, and we must neither of us be afraid 
of the past. It doesn’t count. The only girl I know 
or care about is the dear little girl who made me dare 
to hope. But if I am to help you it will be necessary 
to know what is troubling you. 


GOLDEN HOPE 31 

Becky. I did time once in a reformatory—for 
stealing. 

Averil ( putting her arm around her). Yes, dear? 

Becky. Is that all you’re going to say? 

Averil. Tell me how it happened. 

Becky. I wasn’t but fourteen. My mother and 
father died when I was a kid. I lost the job I had, and 
I guess I got scared. I thought I was starving to 
death and I took—money—to—to buy food. 

Averil (holding her closer). Yes? 

Becky. After I come out, I worked at Crawford’s 
and after that at your sister’s. The night you took me 
away a detective had been there with a warrant for my 
arrest. They think I stole things at Crawford’s, but 
I didn’t. The detective is here, Miss Sanderson. 
She was on the balcony this morning. She must have 
seen me. What am I going to do ? 

Averil. Trust me. No matter what I say or do, 
trust me. Can you? 

Becky. Oh, yes ! (Knock at door r. Becky 
turns toward the door shuddering.) Oh, Miss Sander¬ 
son ! 

Averil. Remember! There is nothing to fear. 
Run in the other room and wait until I call you, and 
then do just as I say. I promise to protect you. 
(There is another knock. Becky exits, l., hurriedly.) 
Come in. 

(Mary Blake enters, r. ; she leaves the door open.) 

Mary. Miss Siberly ? 

Averil. Yes. 

Mary. Miss Sanderson really, isn’t it? 

Averil. Yes, who are- 

(Gwendolyn and Estelle enter, r.) 

Gwendolyn. Averil! At last! 

Estelle. Averil, dear child! 

Averil (rising). Gwendolyn! Aunt Stella! 

(They embrace.) 


3 2 


GOLDEN HOPE 


Gwendolyn. Averil, we have searched and 
searched for you! 

Estelle. I should say we had! I hope we know 
our duty when we see it. 

Gwendolyn. How could you keep me in such sus¬ 
pense, dear? 

Averil. I wrote you that I was all right. Didn’t 
you receive the letter ? 

Gwendolyn. Yes, but it only made me the more 
anxious to see you. And, my dear, the strange way 
you have tried to keep away from us- 

Estelle ( interrupting ). The queerest thing the 
way you have done ! 

Averil. Didn’t you urge me to travel ? 

Gwendolyn. Yes, we did, but we hardly expected 
you to run away in the night and hide yourself from us 
for months. 

Estelle (getting out a handkerchief ). I don’t think 
we deserved it. I always tried to see my duty- 

Averil. And did it, Aunt Stella. You have noth¬ 
ing to reproach yourself with. It probably seemed 
queer to you. It was just a sudden and freak notion 
on my part. 

Gwendolyn. And this seems the strangest of all, 
Averil. We understand you have a girl with you 
who worked for me. (Suddenly turns to Mary.) 
Oh, pardon me! I forgot. Averil, Miss Blake, a 
detective, is with us. 

Averil. How do you do, Miss Blake ? 

Mary. I am glad to know you, Miss Sanderson. 
You must pardon my intrusion, but I was very sure I 
recognized the Heckler girl, and as you answered a 
description I had been given of Miss Sanderson, I took 
the liberty of telephoning to your aunt and sister. 

Gwendolyn. Just think! Our hotel is within sight 
of this one. And we were trying to locate you miles 
away. 

Averil. We were miles away until last night. We 
have just arrived. 

Estelle. And it’s true? 



GOLDEN HOPE 


33 


Averil. Certainly. We are really here. 

Estelle. You know that isn't what I mean. I 
don’t see how you can be frivolous. Is this girl with 
you? 

Averil. Yes, Becky is with me. 

Gwendolyn. And you are calling her Beth Emer¬ 
son? Your companion? 

Averil. Yes. 

Estelle. Well, I never! I am completely at a 
loss to understand you, Averil. Choose that—that— 
creature for a companion when I told you I was ready 
and glad to go anywhere with you. 

Mary. Miss Sanderson didn’t understand, of 
course. I am very sorry, but I must ask to see this 
girl. I have a warrant for her arrest. 

Estelle. Land knows, I hope you’ll keep it quiet, 
Miss Blake. Sounds well, doesn’t it? Miss Sander¬ 
son’s companion arrested- 

Averil. Wait until it happens, Aunt Stella. I will 
call Becky. 

Gwendolyn. Just a minute, Averil, before you call 
her. Why did you bring this girl with you? I had 
spoken to Miss Huntley, and she is such a sweet girl. 

Averil. She didn’t interest me. You didn’t, any 
of you. 

Gwendolyn. Averil! 

Estelle. Well, I must say! If ever any one tried 
to do their duty- 

Averil ( quickly ). You all tried, and you did your 
best for me. It was not your fault. Don’t think for a 
minute that I didn’t appreciate all you were doing. 
You did too much. I didn’t deserve such devotion. It 
just happened this way. Becky was in trouble. I 
heard her say she wanted to live a straight life, and 
' didn’t have a chance. I suddenly saw something I 
could do. Something that would be of some help to a 
little sister. 

Estelle (with a gasp). Sister? 

Averil. For months I was dependent on those 
around me. I hardly dared to take a step without a 



34 


GOLDEN HOPE 


guiding hand. I was afraid my whole life was to be 
that way. I grasped the first opportunity to do some¬ 
thing for another. In trying to help this little girl I 
have learned to do many things, not only for myself, 
but others. ( She makes her way to door L. ; calls.) 
Becky, come here, dear! 

Estelle. Well, my word! {Pause. Becky steps 
into room , l. ; stops and looks at them all uncertainly.) 
Well, it is she! Big as life! And will you look how 
she is dressed. 

Averil. Becky, Miss Blake wishes to see you. 

Mary {to Becky). You are Julia Heckler? 

Becky. Yes, Miss Blake. 

Mary {turns to Gwendolyn). This is the girl who 
worked for you, Mrs. Washburn ? 

Gwendolyn. Yes, it is, but I should hardly have 
known her. I could easily have passed her by. 

Mary {to Becky). You know what I want of you? 

Becky. I heard you tell Miss Huntley in Mrs. 
Washburn’s house four months ago. 

Mary. That is why you ran away with Miss 
Sanderson ? 

Becky. Not exactly. 

Mary. You intended to go. You made Miss Hunt- 
ley think you had sprained your ankle and got excused 
for the night. 

Becky. Yes, I did intend to go, but I expected to 
go alone. When Miss Sanderson asked me I was glad 
to go with her. 

Gwendolyn. Knowing you were wanted by the 
police, don’t you think you took a disgraceful ad¬ 
vantage of a young lady who was kind to you ? 

Becky {with a little catch in her voice). I didn’t 
think of that. 

Averil. She didn’t take advantage of me. I knew 
all about everything. 

Becky "I ( Miss Sanderson! 

Estelle r {together), j Averil! 

Gwendolyn ) C You knew? 

Mary. Miss Sanderson, do you realize what kind 


GOLDEN HOPE 


35 


of an admission you are making? You knew this girl 
was wanted by the police, and yet you helped her to 
get away and even passed her under an assumed name ? 

Averil. I did. 

All (but Becky). Why? 

Averil. Because I believe she is innocent. 

Mary. That has to be proved. 

Averil. We will make an effort to prove it. 

Estelle. Averil, are you crazy? I hope I always 
see my duty and do it, but if you call what you are 
doing a duty- 

Gwendolyn ( interrupting, impatiently). Averil, 
surely you won’t go on with this. What you have al¬ 
ready done is bad enough, but to drag your name into 
the courts in a case of this kind. 

Becky. No, no, Miss Sanderson! You can’t! You 
mustn’t! 

Averil. Hush, dear! It is my name. 

Estelle ( indignantly ). And mine! 

Gwendolyn. I think it pretty generally belongs to 
the family, Averil. I think we should have a voice 
in the matter. 

Mary ( hopefully .) Perhaps Miss Sanderson has 
some proof to offer us. 

Averil, Not yet. Becky, I overheard your conver¬ 
sation with Annie that night at my sister’s. There was 
some one you said you knew to be guilty. I don’t re¬ 
call the name. Who was it ? 

Becky. I—I—can’t tell you. 

Estelle. H’m! I guess you can’t. 

Averil. Why not? 

Becky. I thought she was guilty then; but now I 
don’t know. 

Mary. You can’t crawl out that way, Julia. You 
tried before to throw suspicion on the Billings girl. 

Averil {quickly). That was the name! Billings! 

Mary. That’s an old one, Miss Sanderson, blaming 
her. The Billings girl is working in this hotel. Julia 
was talking with her not a half hour ago. 

Averil. Is that true, Becky? 



36 


GOLDEN HOPE 


Becky. Yes’m. 

Mary. Do you know, Miss Sanderson, that Becky 
has been in the reformatory for stealing? 

Averil. Yes. 

Gwendolyn (aghast). Averil! 

Estelle. Heaven be kind! 

Averil. I know all the circumstances of it. She 
was only fourteen, and destitute. I believe it to be the 
first and only time that Becky was ever tempted to 
take what didn’t belong to her. 

Mary (turning to Becky). Is that so, Julia? 
(Becky hesitates.) You may as well answer. 

Becky. No, Miss Blake. 

Estelle. There! Now I hope, Averil, you are 
satisfied! 

Mary. I am glad you are willing to tell us the 
truth, Julia. If you will own up to the affair at Craw¬ 
ford’s I will try to make things easy for you. 

Becky. I don’t know anything about Crawford’s. 
I didn’t have anything to do with it, but I did take some 
money of Mrs. Washburn’s. 

Estelle. Doesn’t that go to prove-- 

Gwendolyn. Why, I don’t remember that- 

(Hesitates.) 

Becky. You didn’t have time to miss it, Mrs. Wash¬ 
burn. I put it back. It was right after Miss Blake 
had been there and I knew I’d got to go away. She 
was trying to get me for something I didn’t do and I 
hated you all. I did want to be straight, but I couldn’t 
see any chance. I had to have money to go and I 
didn’t care how I got it. After I knew I was going 
with Miss Sanderson I put it back. I didn’t want to 
steal. I don’t believe there’s many girls steal because 
they want to. It’s ’cause they’re so down and out they 
don’t see no other chance to live. 

Estelle. Well, did you ever? A regular oration! 

Mary. And I must admit that it sounds very well, 
but the court will ask for evidence, not talk, and we 
have evidence against Julia Heckler. 


GOLDEN HOPE 


37 


Averil. Real or circumstantial? 

Mary. That remains to be seen. Have you thought, 
Miss Sanderson, that it looks somewhat suspicious that 
the very first night this girl is here all the rooms near 
your apartment are entered? All lead from this bal¬ 
cony. It would seem an exceptional chance. 

Averil. Yes, I suppose it might seem so, but, my 
dear Miss Blake, would Becky be likely to break the 
lock of one of my trunks ? 

Mary. Yes. She is clever enough to do anything 
to turn suspicion away from herself. The very fact 
there is nothing missing from your rooms makes it 
look doubly suspicious. 

Gwendolyn. You see, Averil? 

Averil. Yes, it is quite clear. I see what Miss 
Blake is going to do- 

Mary. You speak as if it was a great pleasure on 
my part. I am merely doing my duty. 

Estelle. Certainly! Of course! That's what we 
all have to do. 

Averil. Well, I will tell you all what I intend to 
do. I intend to back this little girl with every cent I 
have, if necessary. She is mine. I love her and be¬ 
lieve in her and I intend to educate her and care for 
her as if she was my little sister. 

Becky. Oh, Miss Sanderson, I can't let you do this 
for me! 

Averil. You can't help yourself, my dear. Per¬ 
haps it won’t come to publicity, but if it does I'll help 
you face its glaring light, just as you have helped me 
face the inky blackness. Miss Blake, do you wish to 
arrest this young lady now? 

Mary. I’m sure I don't know. I never felt so 
upset over a case in my life. I can’t bear the idea of 
dragging you through the courts. If we could just 
find some evidence in favor of Julia. (Turns to 
Becky.) Will you come with me somewhere and let 
me ask you all the questions that occur to me ? 

Averil. Of course she will. 

Mary. And I’m going to have that Billings girl in 



GOLDEN HOPE 


3* 

for a hearing. I will see you later, Miss Sanderson, 
and I sincerely wish I might have some good news for 
you. 

{Exit, r., with Becky.) 

Gwendolyn. I don’t seem to be entirely able to 
grasp this, Averil. 

Estelle. I should say not. Turn away from your 
own folks to that—that- 

Averil. Don’t say it, Aunt Stella. I haven’t turned 
from you. I love you just the same as ever, more if 
anything. Can’t you see and understand? It was 
Becky who brought the first ray of light to my dark¬ 
ness. 

Gwendolyn. It seems strange and incomprehen¬ 
sible, but who are we to question the way ? Iam glad, 
dear, you are happier, and I am sure Aunt Stella is, 
too. 

Estelle {getting out her handkerchief). Of 
course—of course I am. And, Gwendolyn, I have 
been thinking—let us move over to this hotel. 

Gwendolyn. Just what I was going to suggest. I 
want to be near Averil. 

Estelle. Of course we want to be near the dear 
child. Let us go at once. 

Averil. That will be splendid. I shall love to have 
you here. 

Gwendolyn. And when you are through here you 
will go home with me ? 

Averil. Yes, if it will please you. 

Estelle. There! I just happened to think! Mr. 
Harrison is nearly out of his mind. 

Gwendolyn. Oh, yes, I forgot. He says you sent 
him a letter from Philadelphia that you were at work 
on a play, but when he tried to get in touch with you he 
couldn’t find out a thing. Are you working, dear ? 

Averil. Yes. The play is nearly completed, and I 
believe from my world of darkness I have done my 
best work! I will write to Mr. Harrison to-morrow. 

Estelle. Well, that is splendid, I must say. You 



I 


GOLDEN HOPE 39 

do take after me. When you really see your duty, you 
do it. What is the name of the play, dear child? 
Averil. “ Golden Hope.” 

Gwendolyn. . That suggests so many things! What 
in the world is it about ? 

Averil ( laughing ). I will give you a box on the 
opening night. 

Gwendolyn. Don’t forget. Come, Aunt Stella. 
We will be back soon. 

(Exit, r.) 

Estelle. Yes, indeed. There’s lots to do, but 
when we see our duty it doesn’t take long to do it. 

(Exit, r.) 

(Averil makes her way to table; sits at table; draws a 
manuscript towards her; takes up a pencil and begins 
to write. Sadie comes to window; looks in; cau¬ 
tiously steps into room and towards door l.) 

Averil (suddenly lifts her head and listens). Is it 
you, Becky? Who is it? Who is there? (Sadie 
exits, l. Averil starts to her feet; stands listening for 
a second; makes her way to a bell on the wall; presses 
button; feels her way along the wall to window and 
then steps forward so that she stands between door and 
window. Sadie comes to door.) Who is it? What 
are you doing? (Sadie takes a cautious step for¬ 
ward.) No! You can’t leave this room! (Sadie 
starts to cross to door R. Averil springs forward, 
grabs Sadie by the arm; suddenly gives a little cry and 
looks into the girl's face in astonishment; then she pulls 
herself together and speaks calmly.) What were you 
doing in my room? Who are you? 

Sadie (frightened, looking into Averil’s eyes). 

I—I—why—I thought- 

Averil. You thought I couldn’t see you, but I can— 
quite clearly. 

Sadie (trying to pull away). Let me go! 

Averil. No. Not until you tell me why you are 
here. 



40 


GOLDEN HOPE 


(Miss LeRoy enters, r., followed by Mary and Becky; 
all are very much excited.) 

Miss LeRoy. Did you ring the emergency bell, 
Miss Siberly? 

Averil. Yes. This girl—she was in my room. 
Go, Becky. 

(Becky quickly exits, l.) 

Mary. What were you doing in that room, Sadie? 

Sadie ( sullenly ). Nothing. 

Mary. That won’t do, girl. We are after truth, 
and we’re going to have it. 

(Becky enters, l., with a jewel box in her hand.) 

Averil (eagerly). What is it, Becky? What is 
that in your hand? 

Becky. It is - ( Suddenly stops and looks at 

Averil.) Miss Sanderson, can you see that I have 
something in my hand ? 

Averil. Yes. 

Becky. ^ You can? 

Mary. >■ Why, what? 

Miss LeRoy. ) How- 

Averil ( impatiently , interrupting them). Never 
mind that! What did you find, Becky? 

Becky. I don’t believe she touched anything, but 
she must have left this jewel case. ( Turns to Sadie.) 
Trying again to throw suspicion on me? 

Sadie. No, I wasn’t. I was trying to return Miss 
Siberly’s things. 

Averil. But that isn’t mine. 

Sadie ( defiantly ). It says Siberly on it. 

Mary (examining case). Yes, it does. 

Miss LeRoy. Must belong in seventeen. (To 
Sadie.) So you couldn’t remember where you took 
the things? 

Sadie. I didn’t take it. 

Mary. That’s about enough, Sadie. 

Becky (suddenly). I don’t believe she did, Miss 
Blake. I think she’s trying to shield her husband. 


GOLDEN HOPE 


41 


I f ARY ' } Her husband? 

Averil. ) 

Miss LeRoy ( starting for door ). He works in the 
hotel, and he’s missing! 

Mary. Give the alarm quick. (Miss LeRoy exits , 
r. Mary tarns to Sadie.) So that’s it? 

Sadie. He’ll kill me, but I’m glad it’s out. ( Breaks 
down .) If you knew the life he’s led me! 

Mary. Go down-stairs and wait for me. (Sadie 
exits , r. Mary turns to Becky.) How did you 
guess ? 

Becky. I knew him at Crawford’s, and when she 
said to-day he was her husband, I thought probably he 
was more to blame than her. 

Mary ( shakes hands with Becky). Now that I can 
drop my profession, I’m glad, Julia. I am glad for 
you both, and, Miss Sanderson, I never heard anything 
so wonderful- 

Averil. Not so wonderful when you understand. 
A Philadelphia specialist told me that if I ever had a 
desire to see that was strong enough, a certain nerve 
would respond. When I heard that girl I knew that 
for Becky’s sake I must see who it was. 

Mary. I don’t need to tell you how glad I am. 

Averil. No. I am sure all my friends will re¬ 
joice with me. (Mary exits , r. Averil holds out 
her arms to Becky.) Becky, you look just as I 
thought you did. 

Becky ( going to her ). Oh, Miss Sanderson, we 
really have found it. I knew we should. 

Averil. Yes, Becky, we had to find it, you and I. 
It was my love for you that opened my eyes. Don’t 
you see, dear? The magic touch is love. 


CURTAIN 






Unusually Good Entertainments 

Read On© or More of These Before Deciding on 
Your Next Program 

GRADUATION DAY AT WOOD HILL SCHOOL. 

An Entertainment in Two Acts, by Ward Macauley. For six 
males and four females, with several minor parts. Time of 
playing, two hours. Modern costumes. Simple interior scenes; 
may be presented in a hall without scenery. The unusual com* 
lunation of a real “entertainment,” including music, recitations , 1 
etc., with an interesting love story. The graduation exercises 
include short speeches, recitations, songs, funny interruptions, 
and a comical speech by a country school trustee. 

EXAMINATION DAY AT WOO® HILL SCHOOL. 

An Entertainment in One Act, by Ward Macauley. Eight male 
and six female characters, with minor parts. Plays one hour, 
Scene, an easy interior, or may be given without scenery. Cos¬ 
tumes, modern. Miss Marks, the teacher, refuses to marry a 
trustee, who threatens to discharge her. The examination in¬ 
cludes recitations and songs, and brings out many funny answers 
to questions. At the close Robert Coleman, an old lover, claims 
the teacher. Very easy and very effective. 

BACK TO THE COUNTRY STORE, A Rural Enter¬ 
tainment in Three Acts, by Ward Macauley. For four male 
and five female characters, with some supers. Time, two hours. 
Two scenes, both easy interiors. Can be played effectively with¬ 
out scenery. Costumes, modern. All the principal parts are 
sure hits. Quigley Higginbotham, known as “Quig,” a clerk in 
a country store, aspires to be a great author or singer and 
decides to try his fortunes in New York. The last scene is in 
Quig’s home. He returns a failure but is offered a partnership 
in the country store. He pops the question in the midst of a 
surprise party given in his honor. Easy to do and very funny. 

THE DISTRICT CONVENTION. A Farcical Sketch 
in One Act, by Frank Dumont. For eleven males and one 
female, or twelve males. Any number of other parts or super¬ 
numeraries may be added. Plays forty-five minutes. No special 
.scenery is required, and the costumes and properties are all 
easy. The play shows an uproarious political nominating con¬ 
vention. The climax comes when a woman’s rights cham¬ 
pion, captures the convention. There is a great chance to bur¬ 
lesque modern politics and to work in local gags. Every 
part will make a hit. 

SI SLOCUM’S COUNTRY STORE. An Entertainment 
in One Act, by Frank Dumont. Eleven male and five female 
characters with supernumeraries. Several parts may be doubled. 
Plays one hour. Interior scene, or may be played without set 
scenery. Costumes, modern. The rehearsal for an entertain¬ 
ment in the village church gives plenty of opportunity for 
specialty work. A very jolly entertainment of the sort adapted 
to almost any place or occasion. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 


Read One or More of These Before Deciding on 
Your Next Program 

A SURPRISE PARTY AT BRINKLEY’S. An En¬ 
tertainment in One Scene, by Ward Macauley. Seven male and 
seven female characters. Interior scene, or may be given with¬ 
out scenery. Costumes, modern. Time, one hour. By the 
author of the popular successes, “Graduation Day at Wood Hill 
/School,’' “Back to the Country Store,” etc. The villagers have 
planned a birthday surprise party for Mary Brinkley, recently 
graduated from college. They all join in jolly games, songs, 
conundrums, etc., and Mary becomes engaged, which surprises 
the surprisers. The entertainment is a sure success. 

JONES VS. JINKS. A Mock Trial in One Act, by 
Edward Mumford. Fifteen male and six female characters, with 
supernumeraries if desired. May be played all male. Many of the 
parts (members of the jury, etc.) are small. Scene, a simple 
interior; may be played without scenery. Costumes, modern. 
Time of playing, one hour. This mock trial has many novel 
features, unusual characters and quick action. Nearly every 
character has a funny entrance and laughable lines. There are 
many rich parts, and fast fun throughout. 

THE SIGHT-SEEING CAR. A Comedy Sketch in One 
Act, by Ernest M. Gould. For seven males, two females, or 
may be all male. Parts may be doubled, with quick changes, so 
that four persons may play the sketch. Time, forty-five minutes. 
Simple street scene. Costumes, modern. The superintendent 
of a sight-seeing automobile engages two men to run the 
machine. A Jew, a farmer, a fat lady and other humorous 
characters give them all kinds of trouble. This is a regular gat- 
ling-gun stream of rollicking repartee. 

THE CASE OF SMYTHE VS. SMITH. An Original 

Mock Trial in One Act, by Frank Dumont. Eighteen males 
and two females, or may be all male. Plays about one hour. 
Scene, a county courtroom; requires no scenery; may be played 
in an ordinary hall. Costumes, modern. This entertainment is 
nearly perfect of its kind, and a sure success. It can be easily 
produced in any place or on any occasion, and provides almost 
any number of good parts. 

THE OLD MAIDS’ ASSOCIATION. A Farcical Enter- 

tainment in One Act, by Louise Latham Wilson. For thirteen 
females and one male. The male part may be played by a 
female, and the number of characters increased to twenty or 
more. Time, forty minutes. The play,, requires neither scenery 
nor properties, and very little in the way of costumes. Can 
easily be prepared in one or two rehearsals. 

BARGAIN DAY AT BLOOMSTEIN’S. A Farcical 

Entertainment in One Act, by Edward Mumford. For five males 
and ten females, with supers. Interior scene. Costumes, mod¬ 
ern. Time, thirty minutes. The characters and the situations 
which arise from their endeavors to buy and sell make rapid-fire 
fun from start to finish. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 


Successful Plays for All Girls 

In Selecting Your Next Play Do Not Overlook This List 

YOUNG DOCTOR DEVINE. A Farce in Two Acts, 
by Mrs. E. J. H. Goodfellow. One of the most popular 
plays ; for girls. For nine female characters. Time in 
playing, thirty minutes. Scenery, ordinary interior.' Mod¬ 
ern costumes. Girls in a boarding-school, learning that a 
young doctor is coming to vaccinate all the pupils, eagerly con¬ 
sult each other as to the manner of fascinating the physician. 
When the doctor appears upon the scene the pupils discover that 
the physician is a female practitioner. 

SISTER MASONS. A Burlesque in One Act, by Frank 
DumPnt. For eleven females. Time, thirty minutes. Costumes, 
fantastic gowns, or dominoes. Scene, interior. A grand expose 
of Masonry. ''Some women profess to learn the secrets of a 
Masonic lodge by hearing their, husbands talk in their sleep, 
and they institute a similar organization. 

A COMMANDING POSITION. A Farcical Enter¬ 
tainment, by Amelia Sanford. For seven female char¬ 
acters and ten or more other ladies and children. Time, one 
hoUr. Costumes, modern. Scenes, easy interiors and. one Street 
scene. Marian Young gets tired living with her aunt, Miss 
Skinflint. She decides to “attain a commanding position.” 
Marian tries hospital nursing, college settlement work and’ 
school teaching, but decides'to go back to housework. 

HOW A WOMAN KEEPS A SECRET. A Comedy 

N in One Act, by Frank Dumont. For ten female characters. 
Time, half an hour. Scene, an easy interior. Costumes, modern. 
Mabel Sweetly has just become engaged to Harold, but it’s “the 
deepest kind of a secret.” Before announcing it they must win 
the approval of Harold’s uncle, now in Europe, or lose a possible 
ten thousand a year. At a tea Mabel meets her dearest friend. 
Maude sees Mabel has a secret, she coaxes and Mabel tells her. 
But Maude* lets out the secret in a few minutes to another 
friend and so the secret travels. 

THE OXFORD AFFAIR. A Comedy in Three Acts, 
by Josephine H. Cobb and Jennie E. Paine. For eight female 
characters. Plays one hour and three-quarters. Scenes, inter¬ 
iors at a seaside hotel. Costumes, modern. The action of the 
play is located at a summer resort. Alice Graham, in order to 
chaperon herself, poses as a widow, and Miss Oxford first claims 
her as a sister-in-laW, then denounces her. The onerous duties 
of Miss Oxford, who attempts to serve as chaperon to Miss 
Howe and Miss Ashton in the face of many obstacles, furnish 
an evening of rare enjoyment. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 


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